Back The Woman in the Photograph
Chapters (65)
  1. Cover
  2. Praise for the previous work of
  3. Dedication
  4. Epigraph
  5. 24 April 2018
  6. Part 1: Subject
  7. 15 June 1968
  8. 20 June 1968
  9. July 1968
  10. 2 February 2018
  11. Part 2: Light
  12. 20 November 1970
  13. 20 November 1970
  14. 21 November 1970
  15. November 1970
  16. 19 February 2018
  17. Part 3: Focus
  18. 15 April 1977
  19. 18 April 1977
  20. 15 May 1977
  21. July 1977
  22. 26 February 2018
  23. 8 March 2018
  24. 8 March 2018
  25. Part 4: Distance
  26. 15 May 1979
  27. 15 May 1979
  28. 16 May 1979
  29. June 1979
  30. 29 March 2018
  31. 29 March 2018
  32. 27 March 2018
  33. Part 5: Movement
  34. 18 October 1981
  35. 10 April 2018
  36. 18 October 1981
  37. 10 April 2018
  38. 18 October 1981
  39. 10 April 2018
  40. 18 October 1981
  41. 10 April 2018
  42. 10 April 2018
  43. 18 October 1981
  44. 10 April 2018
  45. October 1981
  46. Part 6: Exposure
  47. July 1984
  48. 5 September 1984
  49. 24 April 2018
  50. 25 April 2018
  51. Part 7: Developing
  52. 26 April 2018
  53. Vee, in the lost place, 1984
  54. 26 April 2018
  55. Epilogue
  56. 5 February 2019
  57. Author’s Note
  58. Acknowledgements
  59. Letter from Author
  60. Stephanie Butland’s Readers’ Club
  61. For your Reading Group
  62. For discussion
  63. Select bibliography
  64. About the author
  65. Also by Stephanie Butland

‘Probably not,’ Vee says. She’s torn between continuing to do what she was doing – she knows she’s within her rights, knows she has nothing to hide – and justifying herself. She’s outnumbered, so, ‘I’m a photographer with the Colchester Echo. But I’m really just here for my own’ – what’s the word? Not ‘amusement’, not ‘satisfaction’ – ‘it’s my day off, and I wanted to see for myself what was going on.’

And now the woman offers a hand to shake. Vee takes it, suddenly self-conscious about her bubble-gum nail polish. She doesn’t wear her engagement ring to work, and she didn’t put it on this morning. She tells Barry it’s because she wouldn’t want to lose it but she’s not sure that’s really the reason. It feels awkward, still, like the word ‘fiancée’ does.

‘Leonie Barratt.’

‘Veronica Moon,’ Vee says again, ‘Vee, for short.’

‘Hello, Vee,’ Leonie says, letting go of her hand and smiling. ‘I’m writing this up for my column in This Month. Well, I might be. You came to have a look? What do you make of it?’ The woman has clear skin, brown eyes, and her face, bare of makeup, is dominated by a large, bony nose. Vee becomes conscious of the half-hour she spent doing her hair and putting on foundation, blush and eyeshadow before she left the house. Putting a face on, her mum used to call it. Vee knows what she meant. She doesn’t always feel as though her own face is enough. This woman – Leonie’s not a name Vee has heard before – apparently has no such problem.

‘Well,’ Vee says, ‘I’m all for it. Obviously.’

One of the women behind Leonie titters, but Leonie ignores her. ‘Striking? Or equal pay?’

‘Both.’ Vee replaces the lens cap, and starts to turn away. If none of the Ford workers are questioning her motives, she doesn’t really see why a journalist and her up-themselves mates should be. And she gets enough of that sort of thing at work, from the men.

‘Do you want me to introduce you to some people? So you can get some photos?’ Leonie asks.

‘No thank you,’ Vee says. She’s not sure what will happen if she starts to look official and it gets back to Bob. For fear of sounding rude, she adds, ‘I don’t want to get in the way. I’m not really supposed to be here.’

The women with Leonie laugh, and one of them says, ‘You’re missing the point, sister,’ in a tone that makes Vee squirm. She hoists her bag on to her shoulder, ready to make a circuit of the action, shoot the last half-dozen frames on her film, and then head back to the car.

Better to make a move, than stay to be laughed at.